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Caçador

Agnes Gosling

Caçador

Price: € 19.95
Format: CD
Label: Buzz
UPC: 0608917612929
Catnr: ZZ 76129
Release date: 09 March 2018
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€ 19.95
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Label
Buzz
UPC
0608917612929
Catalogue number
ZZ 76129
Release date
09 March 2018

"Nominated for Edison 2019."

Jazzism, 26-4-2019
Album
Artist(s)
Composer(s)
Press
EN
DE

About the album

Caçador is the new album by singer Agnes Gosling, who made her debut with Cais, an Edison-nominated CD dedicated to the Brazilian songs of Milton Nascimento and Elis Regina. On Caçador, Gosling explores new avenues. The album is made up from a mixture of Brazilian popular music, jazz, pop and electronic music and contains almost exclusively original compositions full of suspense, harmonically braver and more mysterious.

In close collaboration with studio magician Vincent Helbers and the renowned drummer Richard Spaven, these arrangements rouse emotions with an acute expression of the enchantment, rapture and despair of love. As in real life, there is light and shadow. Gosling has matured as a composer and arranger and is not afraid to show her vulnerability. The track “Aber ich liebe dich” (But I love you) shows deep feeling, something we all experience, but only few can immediately express that way. Elsewhere she and her band refine standards like “Bianca” (Egberto Gismonti) and “Trem Azul” (Lô Borges), the latter with Richard Spaven’s inimitable drumming and Vincent Helbers on synths modulating Bob James. Finest and demanding guitar, harmony singing, hard rhythms, orchestral passages – this album has it all. Expect a fascinating mix of contrasts, a Portisheadesque bridge between the acoustic and the electronic spheres.
Caçador ist das neue Album der Sängerin Agnes Gosling, die vor einigen Jahren mit Cais debütierte, eine von Edison-nominierten CD, die den brasilianischen Liedern von Milton Nascimento und Elis Regina gewidmet ist. Mit Caçador schlägt Gosling einen neuen Weg ein. Das Album zeigt eine Mischung aus Música Popular Brasileira, Jazz, Pop und elektronischer Musik und besteht fast ausschließlich aus Eigenkompositionen, wesentlich spannungsgeladener: harmonisch mutiger und geheimnisvoller.
In enger Zusammenarbeit mit dem Magier im Studio Vincent Helbers und dem renommierten Schlagzeuger Richard Spaven wecken diese Arrangements die Emotionen mit einem scharfsinnigen Ausdruck von Verzauberung, Verzückung und Verzweiflung inmitten der Liebe. Wie im realen Leben gibt es Licht und auch Schatten. Gosling ist als Komponistin und Arrangeurin gereift, ohne Angst davor, ihre Verletzlichkeit zu zeigen. Der Track „Aber ich liebe dich“ zeigt tiefe Empfindung, etwas, das viele von uns fühlen, aber nur wenige so unmittelbar zum Ausdruck bringen können. An anderer Stelle verfeinern sie und ihre Band Standards wie „Bianca“ (Egberto Gismonti) und „Trem Azul“ (Lô Borges) - letzteres mit dem unnachahmlichen Schlagzeuger Richard Spaven und Vincent Helbers am Synthesizer, der Bob James reguliert. Feinste und anspruchsvolle Gitarre, Stimmenchöre, harte Rhythmen, orchestrale Passagen... es alles ist da. Erwarten Sie eine faszinierende Mischung aus Kontrasten, eine Portishead-ähnliche Brücke zwischen der akustischen und der elektronischen Sphäre.

Artist(s)

Agnes Gosling (vocals)

A voice is rarely the first ‘instrument’ that comes to mind. But in the right hands, and through steady application, a voice becomes the ultimate expression through sound. It not only breathes life into a song, it can create something familiar yet unusual and intimate.   This is Agnes Gosling’s approach to music and, as time passes, she continues to reveal different colours and textures in her vocals, reflecting key experiences and the emotions they trigger. Often poised and pristine, occasionally more fragile and unpolished, melody and harmony are how she speaks her truth.   Turned on to Seventies' fusion by her parents' record collection, Gosling enrolled at the Rotterdam Conservatory, excelled in the Brazilian Jazz department and was soon travelling the world as...
more
A voice is rarely the first ‘instrument’ that comes to mind. But in the right hands, and through steady application, a voice becomes the ultimate expression through sound. It not only breathes life into a song, it can create something familiar yet unusual and intimate.
This is Agnes Gosling’s approach to music and, as time passes, she continues to reveal different colours and textures in her vocals, reflecting key experiences and the emotions they trigger. Often poised and pristine, occasionally more fragile and unpolished, melody and harmony are how she speaks her truth.
Turned on to Seventies' fusion by her parents' record collection, Gosling enrolled at the Rotterdam Conservatory, excelled in the Brazilian Jazz department and was soon travelling the world as a performer. One of the places that quickly became a key musical touchpoint was, not surprisingly, Brazil. "I love how music is alive everywhere you go, how passionate and positive the people are," she says.
It’s been four years since the release of her Edison Award-nominated debut Cais, a refined collection inspired by the likes of Milton Nascimento and Elis Regina. Her second album is harmonically bolder, more mysterious and laced with tension. Caçador honours the tradition of great acoustic jazz while exploring new sounds and styles from the contemporary music world.
Soon after Cais, Gosling started humming and “sketching” ideas to send to her producer and musical director, Vincent Helbers (Flowriders, Seravince). They would also go back and forth with playlists of tracks by artists such as Bjork, Emily King, James Blake, Portishead and Nana Caymmi.
Helbers is not only a studio wizard, he is the guide that has supported and challenged Gosling to deliver the most daring expression of her vision. Someone who’s not afraid to do a “complete 180” as Gosling puts it. Take ‘Monotony of Drama (part II)’, for example, which was stripped down to a fractured beatscape and ghostly melody to evoke the confusion Gosling was writing about. (“Paint my house in bright white/Paint my nails in blacklight.”) Many arrangements will stir listeners with their acute expression of enchantment, rapture and melancholy. There’s ‘Cachoeira de Mim’, which went through several drafts and whose circular calm masks the trouble within. It represents the struggle to stay focused when things get on top of you. As in life, there is light but also shade. Gosling is really maturing as a writer and arranger, unafraid to show her vulnerability.
Her inspiration often comes from everyday frustrations and anxieties.
‘Coming Back Home paints a picture many couples will be familiar with. (“Coming back home you're upset/Get hung up on things I never said/And I won't talk at all.”) Gosling explains, “It’s about the daily back and forth in a relationship and how, in the end, it’s all part of the game … and all good.” Although tracks like the opener ‘But I Love You’ are intricate and layered, they came together quite quickly. The composition swells from a twinkling amorous reverie to a quickening pulse of marching drums and wailing guitar as Gosling sings about being torn between loves past and present.
The band gets a special mention here, particularly the nucleus of Helbers on keyboards, Richard Spaven (Jose James, Cinematic Orchestra) on drums and Robin Mullarkey (Eska, Jessie Ware) on bass. “They just blew my mind,” says Gosling. “Everybody seemed to instinctively know what that song needed. They each have a distinctive sound, yet they can all fold around and fit into mine that works so well”.
“Richard is in a league of his own. Playing with him is like flying. I have never met or played with someone like Rob, he is the glue you wish for in a bass player. But at the same time he can suggest a direction in the way he plays that just lifts everything up. And without Vincent, there simply wouldn’t be an album. His vision and knowledge on sound, colours and instrumentation are so advanced and original.” Arguably the finest moment for this unit is ‘Ela’, an Egberto Gismonti-inspired track that they nicknamed “the beast with seven heads” on account of its complex and unconventional nature. It’s a suite that moves back and forth between rhythmic waltz and Tropicalia-like string passages. Gosling takes the role of a spurned lover, singing to her ex about the predatory other woman, asking, “Who am I to deny the love of your inexperienced dreams?” Caçador also includes three reconfigured standards. There’s Gismonti’s ‘Bianca’, arranged and produced by Spaven, whose patter adds backbone to a dreamy composition. Bowie’s ‘Life on Mars’ is given an acoustic treatment reminiscent of Seu Jorge’s rendition. But this version taps into the alienation at the heart of the lyrics thanks to Helbers’ desolate synth chords.
And let’s not forget the sublime ‘Trem Azul’ by Lô Borges, which is tastefully transformed from gentle sway to fizzing fusion (featuring Lars Dietrich on saxophone and Helbers channeling Bob James).
Songs you can relate to, first-class musicianship, a few unexpected moments… It’s all here. And at the heart of it is Agnes Gosling, She sings what many of us feel yet few can express. It’s jazz, but not as we know it.
Quotes “Unique sound and interpretation” – De Telegraaf “What a singer. I don’t understand anything [because Brazilian] but I believe everything” – Mijke Loeven “Every now and then a Dutch singer comes along, someone who really can bring a Brazilian song to life. That’s Agnes Gosling” – Jazzflits
less

Lars Dietrich (saxophone)

Danny Fisher (guitar)

Dave Austin (guitar)

Composer(s)

Egberto Gismonti

The complexity of Brazil, its interweaving and co-existence of culture, finds its echo in the music of Egberto Gismonti, who draws on resources both “primitive” and “sophisticated”. As critic Josef Woodard observed, in Gismonti’s work “the line between folklore, classical heritage, hints of jazz, and nameless modes of invention is beautifully smudged.” Born in 1947 in the small Brazilian town of Carmo, Gismonti studied piano from the age of five and, later flute and clarinet. He is self-taught on guitar, which he took up at age of 21, soon developing his innovative, two-handed techniques of simultaneous lines and counter-melodies on the instrument. In 1970 he travelled to Paris to study with two important teachers, famed pedagogue Nadia Boulanger and twelve-tone...
more
The complexity of Brazil, its interweaving and co-existence of culture, finds its echo in the music of Egberto Gismonti, who draws on resources both “primitive” and “sophisticated”. As critic Josef Woodard observed, in Gismonti’s work “the line between folklore, classical heritage, hints of jazz, and nameless modes of invention is beautifully smudged.” Born in 1947 in the small Brazilian town of Carmo, Gismonti studied piano from the age of five and, later flute and clarinet. He is self-taught on guitar, which he took up at age of 21, soon developing his innovative, two-handed techniques of simultaneous lines and counter-melodies on the instrument. In 1970 he travelled to Paris to study with two important teachers, famed pedagogue Nadia Boulanger and twelve-tone composer Jean Barraqué, Webern’s most dedicated disciple. Valuable as these experiences were, they served also to strengthen Gismonti’s respect for the music of his homeland, which seemed to him an unlimited resource. “World music”, as it would later be termed, was on his doorstep – so many musical traditions overlapped and dovetailed in Brazil: “All European cultures and other cultures are part of our culture.” He has always cited his time with the Xingu Indians in the Amazon jungle as a crucial part of his musical and philosophical education, heightening an awareness of essentials necessary for survival, in art and elsewhere.

less

Agnes Gosling (vocals)

A voice is rarely the first ‘instrument’ that comes to mind. But in the right hands, and through steady application, a voice becomes the ultimate expression through sound. It not only breathes life into a song, it can create something familiar yet unusual and intimate.   This is Agnes Gosling’s approach to music and, as time passes, she continues to reveal different colours and textures in her vocals, reflecting key experiences and the emotions they trigger. Often poised and pristine, occasionally more fragile and unpolished, melody and harmony are how she speaks her truth.   Turned on to Seventies' fusion by her parents' record collection, Gosling enrolled at the Rotterdam Conservatory, excelled in the Brazilian Jazz department and was soon travelling the world as...
more
A voice is rarely the first ‘instrument’ that comes to mind. But in the right hands, and through steady application, a voice becomes the ultimate expression through sound. It not only breathes life into a song, it can create something familiar yet unusual and intimate.
This is Agnes Gosling’s approach to music and, as time passes, she continues to reveal different colours and textures in her vocals, reflecting key experiences and the emotions they trigger. Often poised and pristine, occasionally more fragile and unpolished, melody and harmony are how she speaks her truth.
Turned on to Seventies' fusion by her parents' record collection, Gosling enrolled at the Rotterdam Conservatory, excelled in the Brazilian Jazz department and was soon travelling the world as a performer. One of the places that quickly became a key musical touchpoint was, not surprisingly, Brazil. "I love how music is alive everywhere you go, how passionate and positive the people are," she says.
It’s been four years since the release of her Edison Award-nominated debut Cais, a refined collection inspired by the likes of Milton Nascimento and Elis Regina. Her second album is harmonically bolder, more mysterious and laced with tension. Caçador honours the tradition of great acoustic jazz while exploring new sounds and styles from the contemporary music world.
Soon after Cais, Gosling started humming and “sketching” ideas to send to her producer and musical director, Vincent Helbers (Flowriders, Seravince). They would also go back and forth with playlists of tracks by artists such as Bjork, Emily King, James Blake, Portishead and Nana Caymmi.
Helbers is not only a studio wizard, he is the guide that has supported and challenged Gosling to deliver the most daring expression of her vision. Someone who’s not afraid to do a “complete 180” as Gosling puts it. Take ‘Monotony of Drama (part II)’, for example, which was stripped down to a fractured beatscape and ghostly melody to evoke the confusion Gosling was writing about. (“Paint my house in bright white/Paint my nails in blacklight.”) Many arrangements will stir listeners with their acute expression of enchantment, rapture and melancholy. There’s ‘Cachoeira de Mim’, which went through several drafts and whose circular calm masks the trouble within. It represents the struggle to stay focused when things get on top of you. As in life, there is light but also shade. Gosling is really maturing as a writer and arranger, unafraid to show her vulnerability.
Her inspiration often comes from everyday frustrations and anxieties.
‘Coming Back Home paints a picture many couples will be familiar with. (“Coming back home you're upset/Get hung up on things I never said/And I won't talk at all.”) Gosling explains, “It’s about the daily back and forth in a relationship and how, in the end, it’s all part of the game … and all good.” Although tracks like the opener ‘But I Love You’ are intricate and layered, they came together quite quickly. The composition swells from a twinkling amorous reverie to a quickening pulse of marching drums and wailing guitar as Gosling sings about being torn between loves past and present.
The band gets a special mention here, particularly the nucleus of Helbers on keyboards, Richard Spaven (Jose James, Cinematic Orchestra) on drums and Robin Mullarkey (Eska, Jessie Ware) on bass. “They just blew my mind,” says Gosling. “Everybody seemed to instinctively know what that song needed. They each have a distinctive sound, yet they can all fold around and fit into mine that works so well”.
“Richard is in a league of his own. Playing with him is like flying. I have never met or played with someone like Rob, he is the glue you wish for in a bass player. But at the same time he can suggest a direction in the way he plays that just lifts everything up. And without Vincent, there simply wouldn’t be an album. His vision and knowledge on sound, colours and instrumentation are so advanced and original.” Arguably the finest moment for this unit is ‘Ela’, an Egberto Gismonti-inspired track that they nicknamed “the beast with seven heads” on account of its complex and unconventional nature. It’s a suite that moves back and forth between rhythmic waltz and Tropicalia-like string passages. Gosling takes the role of a spurned lover, singing to her ex about the predatory other woman, asking, “Who am I to deny the love of your inexperienced dreams?” Caçador also includes three reconfigured standards. There’s Gismonti’s ‘Bianca’, arranged and produced by Spaven, whose patter adds backbone to a dreamy composition. Bowie’s ‘Life on Mars’ is given an acoustic treatment reminiscent of Seu Jorge’s rendition. But this version taps into the alienation at the heart of the lyrics thanks to Helbers’ desolate synth chords.
And let’s not forget the sublime ‘Trem Azul’ by Lô Borges, which is tastefully transformed from gentle sway to fizzing fusion (featuring Lars Dietrich on saxophone and Helbers channeling Bob James).
Songs you can relate to, first-class musicianship, a few unexpected moments… It’s all here. And at the heart of it is Agnes Gosling, She sings what many of us feel yet few can express. It’s jazz, but not as we know it.
Quotes “Unique sound and interpretation” – De Telegraaf “What a singer. I don’t understand anything [because Brazilian] but I believe everything” – Mijke Loeven “Every now and then a Dutch singer comes along, someone who really can bring a Brazilian song to life. That’s Agnes Gosling” – Jazzflits
less

Danny Fisher (guitar)

Dave Austin (guitar)

Press

Nominated for Edison 2019.
Jazzism, 26-4-2019

On Caçador Gosling also mixes ingenious Brazilian music with pop, jazz and electronic music.
Jazzism, 17-8-2018

Caçador van Gosling is an album of international class that has an extra quality injection through a glowing cover version of Bowie's Life On Mars.
Heaven, 30-5-2018

Integer music for people today with a cover version of Bowies Life On Mars and some exciting own compositions.
Mania, 04-5-2018

An enchanting album that also has enormous audiophile qualities. Belongs to the top productions of this month.
Music Emotion, 04-5-2018

The Rotterdam singer Agnes Gosling wrote the pieces for her new album together with her fellow musicians.
Nederlands Dagblad, 13-4-2018

Pleasant, worldly and modern listening music with a deeper character that becomes noticeable when you listen to it carefully, that is Caçador in a proverbial nutshell.
Music Emotion, 30-3-2018

Play album Play album
01.
But I Love you
05:24
(Merlijn Verboom, Vincent Helbers, Agnes Gosling) Agnes Gosling, Robin Mullarkey, Richard Spaven, Merlijn Verboom, Vincent Helbers
02.
Cachoeira de Mim
04:39
(Vincent Helbers, Agnes Gosling, Danny Fisher, Richard Spaven, Dave Austin) Agnes Gosling, Danny Fisher, Richard Spaven, Robin Mullarkey, Dave Austin
03.
Caçador
06:09
(Vincent Helbers, Agnes Gosling) Agnes Gosling, Lars Dietrich, Annie Tangberg, Vera van der Bie, Ramón Mendeville, Robin Mullarkey, Merlijn Verboom, Vincent Helbers
04.
Bianca
05:24
(Egberto Gismonti) Agnes Gosling, Danny Fisher, Dave Austin, Richard Spaven
05.
Coming Back Home
03:49
(Vincent Helbers, Agnes Gosling) Agnes Gosling, Richard Spaven, Robin Mullarkey, Vincent Helbers
06.
Life on Mars
03:41
(David Bowie) Agnes Gosling, Robin Mullarkey, Vincent Helbers
07.
Ela
06:19
(Merlijn Verboom, Vincent Helbers, Agnes Gosling) Richard Spaven, Gideon van Gelder, Agnes Gosling, Annie Tangberg, Gianfranco Mascayano, Vera van der Bie, Robin Mullarkey, Vincent Helbers
08.
Smoke and Mirrors
05:30
(Vincent Helbers, Agnes Gosling) Agnes Gosling, Gideon van Gelder, Richard Spaven, Robin Mullarkey, Vincent Helbers
09.
The Monotony of Drama Part II
04:04
(Vincent Helbers, Agnes Gosling) Vincent Helbers, Agnes Gosling
10.
O Trem Azul
04:56
(Lo Bôrges) Vincent Helbers, Robin Mullarkey, Lars Dietrich, Agnes Gosling
11.
Bonus Track - the Monotony of Drama Part I
02:39
(Richard Spaven, Vincent Helbers, Agnes Gosling) Vincent Helbers, Richard Spaven, Agnes Gosling
show all tracks

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